- ^ Snyder, Susan (1993). "Introduction". The Oxford Shakespeare: All's Well That Ends Well. Oxford, England: Oxford University Press. pp. 20–24. ISBN 978-0-19-283604-5.
- ^ a b Maguire, Laurie; Smith, Emma (19 April 2012). "Many Hands – A New Shakespeare Collaboration?". The Times Literary Supplement. also at Centre for Early Modern Studies Archived 23 July 2012 at archive.today, University of Oxford accessed 22 April 2012: "The recent redating of All’s Well from 1602–03 to 1606–07 (or later) has gone some way to resolving some of the play’s stylistic anomalies" ... "[S]tylistically it is striking how many of the widely acknowledged textual and tonal problems of All’s Well can be understood differently when we postulate dual authorship."
- ^ Snyder, Susan (1993). "Introduction". The Oxford Shakespeare: All's Well That Ends Well. Oxford, England: Oxford University Press. pp. 16–19. ISBN 9780192836045
- ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; p. 29.
- ^ McCandless, David (1997). "All's Well That Ends Well". Gender and performance in Shakespeare's problem comedies. Bloomington, IN: Indiana University Press. pp. 57–59. ISBN 0-253-33306-7.
- ^ a b c d Dickson, Andrew (2008). "All's Well That Ends Well". The Rough Guide to Shakespeare. London: Penguin. pp. 3–11. ISBN 978-1-85828-443-9.
- ^ Billington, Michael (29 May 2009). "Theatre review: All's Well That Ends Well / Olivier, London". The Guardian. Retrieved 9 May 2011.
- ^ Taylor, Paul (18 January 2018). "All's Well That Ends Well, review: Eye-opening and vividly alive". The Independent. Archived from the original on 20 January 2018.
- ^ W. W. Lawrence, Shakespeare's Problem Comedies 1931.
- ^ J. L. Styan Shakespeare in Performance 1984; Francis G Schoff Claudio, Bertram and a Note on Inerpretation, 1959
- ^ Hadfield, Andrew (August 2017). "Bad Faith". Globe: 48–53. ISSN 2398-9483.
- ^ Kellaway, Kate (14 December 2003). "Judi...and the beast". The Observer. UK. Retrieved 5 July 2009.
- ^ Billington, Michael (2001). One Night Stands: a Critic's View of Modern British Theatre (2 ed.). London: Nick Hern Books. pp. 174–176. ISBN 1-85459-660-8.
- ^ Taylor, Gary; Jowett, John; Bourus, Terri; Egan, Gabriel, eds. (2016). New Oxford Shakespeare: Modern Critical Edition. Oxford: Oxford University Press. p. 2274. ISBN 978-0-19-959115-2. Accessed 27 January 2020: "Shakespeare is undoubtedly the original author. Thomas Middleton added new material for a revival after Shakespeare's death, including the virginity dialogue..., the Kings speech about status and virtue..., and the gulling of Paroles".
- ^ a b Genest, John (1832). Some account of the English stage: from the Restoration in 1660 to 1830. Vol. 3. Bath, England: Carrington. pp. 645–647.
- ^ Highfill, Philip (1984). A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660–1800. Vol. 10. Carbondale, IL: Southern Illinois University Press. p. 262. ISBN 978-0-8093-1130-9.
- ^ Fraser (2003: 15)
- ^ Cave, Richard Allen (2004). "Woodward, Henry (1714–1777)". Oxford Dictionary of National Biography. Oxford Dictionary of National Biography (online ed.). Oxford, England: Oxford University Press. doi:10.1093/ref:odnb/29944. (Subscription or UK public library membership required.)
- ^ William Linley's song "Was this fair face" was written for All's Well That Ends Well.
- ^ Ellen Terry (1932) Four Essays on Shakespeare
- ^ W. Osborne Brigstocke, ed. All's Well That Ends Well, "Introduction" p. xv.
- ^ Neely, Carol Thomas (1983). "Power and Virginity in the Problem Comedies: All's Well That Ends Well". Broken nuptials in Shakespeare's plays. New Haven, CT: University of Yale Press. p. 58. ISBN 978-0-300-03341-0.
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